---

Content

1. Preface
2. The panorama
3. The overall picture
4. Stonework
5. Saxa loquuntur
6. The construction
7. Why was it built
8. The Fresnel-Helmholtz interior
9. Conclusion
10. Doubts
11. Finally
12. Bibliography
13. Reading-list
14. Appendix, sketches

---

Preface

Years ago, the author of this paper had a chance to spend some years in Mongolia. In Ulan Bator, the capital of this beautiful country, first he just looked on the Central Monastery in Gandan as someone who happened to be there by chance. Later on every time he went up to the Monastery and tried to discover some sort of system and connection on the process of the ceremony, which could have been hardly followed. He tried to understand when and why the wind band blast up the huge metal horns, used as accessories during the ceremony, and the huge sea snail shells, when and why rumble the giant drums and other instruments? Then why does this loud sound stop suddenly as it would have been cut it off.

The great honourable lamas wave to each other with smile on their face - was the action successful? Again there is the loud sound then there is silence again. Now the lamas do not wave to each other and do not smile. Was the action unsuccessful? The whole ceremony is monotonous, consists of deep, grumbling and frightening sound and silence, which alternate periodically with each other. Many ceremonies were heard out and "why" questions were increasing: what can be the reason of the deep, grumbling sound on the ancient Tibetan Buddhist ceremony?

Some years later the author "met" the giant Tyrolean alphorns and the Nebelhorners, and then he "met" Stonehenge, absolutely accidentally. After a long search, the ceremonies in Gandan Monastery, in Ulan Bator, and the "Stonehenge picture" seem to combine together.

This paper is about the connection between the sound of the horns of Ulan Bator and Tyrol and the Stonehenge system. Maybe with this theory the purpose of the system (ST-21/25/F-H.) was managed to be understood.

---